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That's how Vanity Fair described the record business turmoil of the 1990s, which moved the Warner Music Group -- the world's number one record company -- from the entertainment pages to the front pages. Suddenly, decades of riotous fun and booming business went splat. Top music executives got evicted from their offices, some escorted by company guards. Why? The answers are in Exploding -- the most insightful and delightful book about the record business ever written.
In the rock explosion of the Sixties and Seventies, Warner Bros., Atlantic, and Elektra Records dominated the business as the Warner Music Group. But by the Nineties, the success of WMG was shaken by egos and corporate politics that left the company struggling for identity in a dramatically changing industry. This is the story of that long, strange trip.Your host is the ultimate insider: Stan Cornyn, a key creative force behind the Warner Music Group's stunning rise. During more than thirty years at the company, Cornyn went through what the news media could never uncover. In a freewheeling, vastly entertaining narrative, Cornyn takes us behind the scenes, seats us in the conference rooms, and shows us the interactions between the stars and the suits -- using the same irreverent wit that produced the marketing campaigns that helped put Warner on the map.Exploding is populated by music stars like Frank Sinatra, Ray Charles, the Doors, Jimi Hendrix, Lil' Kim, Dr. Dre, the Grateful Dead, Queen, Madonna, Ice-T, Joni Mitchell, Frank Zappa, Neil Young, Alice Cooper, and dozens more, even the legendary supergroup Scorpio. (Never heard of Scorpio? You'll find out why.) And it introduces you to the most colorful businesspeople ever: hyperintense record sellers who shave their heads; throw doves off a roof; send pig heads through the mail; provide the money, meds, and mammaries -- anything -- to get their records on the air. Here is the music business as you've never seen it: at its wildest, in its wackiest fifty years, bursting with hits and cash, until, by the end, it's just plain Exploding.- Sales Rank: #1291610 in Books
- Published on: 2002-02-05
- Released on: 2002-02-05
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.27" w x 6.13" l,
- Binding: Hardcover
- 512 pages
From Publishers Weekly
When did the money become more important than the music? Cornyn, a veteran of Warner Bros. Records from its birth in the late 1950s, fondly recalls when it was about the music (and the dames and drunken fun didn't hurt), a time before such terms as "units," "product," "industry" entered the vernacular. He's frank about the people and circumstances that have forever changed the business. Also realistic, he knows changes will continue (which is why he urges readers to turn this into a "living book" by contributing their own observations online). Having spent 34 years with the company in its many incarnations, Cornyn could've chosen the route of raunchy expose, but instead he delivers good gossip with high humor and class. He describes the unknowns who stepped in and rescued Warner during down times, like Bob Newhart with his comedy album in 1962, and later Madonna. Snappy stories of artists itching to break contracts Sinatra did so with "laryngitis," the Sex Pistols with urine, Jackson Browne with tears. But even juicier, as the company history unfolds, are the insider takes on the men (and the occasional women) behind the music, the boardroom brawls, midnight calls, hush-hush deals, and talks with Teamsters. Endearingly, he freeze-frames the grander moments, when someone makes the perfect quip or sings a line just right. This music narrative has all the elements drama, mystery, comedy, a course in business (royalties, payola, severance pay), debauchery (Queen's outrageous party in New Orleans) and history.
Copyright 2001 Cahners Business Information, Inc.
From Library Journal
A creative executive at Warner Bros. Records for 30 years, Cornyn presents a provocative, witty, and engrossing insider's story of that label and the cutthroat machinations of the record industry. Beginning with the takeover of Warner Bros. Pictures by the despicable Jack Warner, he charts the rise of Warner Records in the late 1950s with Mike Maitland, who first brought success to the label. He then moves to the merger of Warner Bros. Records with Frank Sinatra's Reprise label, its absorption of successful independents Atlantic and Elektra, and the buyout of Warner by Steve Ross of Kinney National, who created Warner Communications. Cornyn continues with Warner's assimilation of Asylum Records, its merger with Time, and its eventual union with Ted Turner's communications empire. Giving little emphasis to the artists except as fleeting commodities, the author graphically reveals the transition of Warner from a fledgling record company dedicated to unearthing the newest music trends to a corporate conglomerate obsessed with greater market share and escalating profits. Fans of record mogul tell-alls will enjoy this. Highly recommended for popular music collections. Dave Szatmary, Univ. of Washington, Seattle
Copyright 2002 Cahners Business Information, Inc.
From Booklist
If anyone knows the whole story of the Warner Music Group, which in its heyday included the high-flying Atlantic, Elektra, and Reprise pop labels, Cornyn does. He started working there in the '50s, stayed, and prospered, writing liner notes before progressing to greater responsibilities and winning more Grammys than the Singing Nun. Of course, this book isn't as much about music as about the corporate machinations anent packaging and merchandising music, so there is way more of David Geffen and Mo Ostin than of Sinatra and Zappa in it. So what? Sleazy business practices in the recording industry have made fun reading before, and they still do. On the other hand, Cornyn includes plenty on what the likes of James Taylor, Led Zeppelin, the Dead, and the Stones are really like, so stargazers can't grouse too much. Meanwhile, Cornyn's deposition will seem absolutely essential to those who still would like to know why grown-ups consistently give such ludicrously lucrative deals to adolescents with guitars. Mike Tribby
Copyright © American Library Association. All rights reserved
Most helpful customer reviews
15 of 19 people found the following review helpful.
Are we talking about the same book?
By tjs001
"Exploding is populated by music stars like Frank Sinatra, Ray Charles, the Doors, Jimi Hendrix, Lil' Kim, Dr. Dre, the Grateful Dead, Queen, Madonna, Ice-T, Joni Mitchell, Frank Zappa, Neil Young, Alice Cooper, and dozens more".
Yeah? Where?
The artists are merely footnotes in this saga; weirdos to be tolerated (barely) and joked about. I spent a lot of money on this tome hoping to read about some of them. Instead I got 450 pages of business talk with about 4500 witticisms to amuse and confuse.
At least I found out why their awesome back catalogue has shamefully been left to earn whatever dollars it can in crappy 80's CD output (in the main) while other labels remaster properly and expand on their reissues - Warners just don't give a damn.
Won't be reading it again, I assure you.
8 of 11 people found the following review helpful.
On living for the music, memories and more....
By A Customer
"Exploding" not only gives a very thorough and complete historical structure of how Warner Bros. became a film and music leader, but gives outsiders the intense understanding of what the "insiders" were dealing with, when the company and the music industry went through the myriad changes of the 20th century.It's a time-line saga and sensory experience of all that the Warner Music business was and later became. The book gives readers both funny, poignant and enlightening glimpses into the key players and other personalities of the Warner Music Group, and describes how the rock industry's stars rose and fel. After working in the music industry for many years, I learned even more than I ever previously knew about how WB began and evolved. From mostly behind the scenes and through mainly a mere few "big-wigs" the cards were dealt or held for many future careers at the WB family of labels. Musicians, songwriters, radio and record neophytes could learn alot from reading this book. Industry veterans will enjoy the trips down memory lane, and ultimately, be carried along it's emotional currents. Coryn's writing is witty and he gets to his well-crafted points with style and substance. After dozens of years working deep in the creative trenches as the changes occured, he is well-suited to tell the tales, both bitter and sweet.
1 of 1 people found the following review helpful.
Important addition to the history of rock and pop music
By johnf
The single most-missed aspect in most articles, reviews and books about popular music, and particularly about the period of the 60's and 70's is the fact that it was a business. There are many excellent pieces written on the music and cultural changes of the era, but the details and even the existence of the business that underlay the entire thing gets barely a mention. Yet the business side of music controlled who was signed, how they were promoted, who got airplay and how it was distributed in a way that made it almost a co-creator of the whole phenomenon. In studying this vital period, it is as important to know the business history as it is any other aspect of it.
In a way, the "record business" was almost too successful, in that the songs seemed to appear before you out of nowhere, and just as miraculously, the record would be in the bins to be purchased; the work of hundreds of people, the big organizations, the payola, the agents and the deals all hidden away, unnoticed.
Stan Cornyn was uniquely positioned as one of the original employees of Warner Brothers Music from its founding in the Fifties, through its heyday as the world's biggest music label group in the Seventies and Eighties, to its later decline. Not only that, but he became a major executive within the company but was a creative, music person and not a 'Suit". I first noticed him as a writer of Frank Sinatra's liner notes (for which he won Grammy awards) and also of delightfully over-the-top notes for Petula Clark's LP's. He went on as head of Warner's advertising and promotion to be a major creator of a label whose atmosphere appealed to the new crowd of singer-songwriters and rock stars who wanted to sign with this label and not its stodgy competitors.
Warner-Atlantic and later Asylum and others of the group became so big largely because of this perceived hipness during a period when almost all the other labels were completely out to sea about what was going on in music and often survived only because of a lucky signing of a Bob Dylan (Columbia) or Beatles (Capitol). And Cornyn was there it the thick of it, observing everything from the days when it was smaller than some of the independents to the Time-Warner merger and beyond. This is what makes the book so vital; that he found himself in the middle of the most signifigant label of the era, and not some also ran like RCA or Capitol.
It's telling that the early part of the book is focused on artists and creative, music-involved executives like the Erteguns and Mo Ostin and that the later part reads like a history of the Borgias as corporate suits take over and launch plots and counter plots against each other. Throughout it all Cornyn presents a keenly observed story in a witty and enjoyable way.
Let's deal with the problem that readers like reviewer Terry Saundry had. If you're looking for a book about the lives of rock stars full of stories and interviews, this is not it. Nor is it a work of aesthetic criticism of the music or a cultural history of the rock revolution of the mid Twentieth Century. It is indeed, a business history, but an important and vital one if one is looking to understand that era and what happened to subsequently change it: like Sallust says of Rome, it got too big and rich for its own good, and then the money-men moved in.
It might have been advisable to include a mention of the business nature of the book in the title because Mr. Saundry's complaint is a valid one. Also, as one gets later on in the book when the cast of corporate characters are not exactly well known music-associated names like David Geffen, a glossary of names and who they were would have been helpful. As it was, I took notes to remember just who these names were. Otherwise we are very lucky that Mr. Cornyn was where he was for so long, and had the talent to produce such an excellent and necessary book.
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